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By:

Quaid Najmi

4 January 2025 at 3:26:24 pm

Thrills, roars and cheers under a giant marquee

Rambo Circus pitches a tent in MMR Mumbai : Mumbaikars are thronging to rediscover the joys of stunning, live entertainment as the familiar Rambo Circus has pitched a tent in Borivali West, before it shifts to Navi Mumbai from December 2.   This is billed as the first major full-scale season post-Covid-19 pandemic, which had led to a near washout of shows owing to social-distancing norms and public fears. The tent is now attracting a strong public response, said Rambo Circus Director and...

Thrills, roars and cheers under a giant marquee

Rambo Circus pitches a tent in MMR Mumbai : Mumbaikars are thronging to rediscover the joys of stunning, live entertainment as the familiar Rambo Circus has pitched a tent in Borivali West, before it shifts to Navi Mumbai from December 2.   This is billed as the first major full-scale season post-Covid-19 pandemic, which had led to a near washout of shows owing to social-distancing norms and public fears. The tent is now attracting a strong public response, said Rambo Circus Director and owner Sujit Dilip.   “We get good crowds on weekends and holidays, but weekdays are still a struggle. Our fixed expenses are around Rs. One Crore per month. Costs have gone up nearly ten times on all fronts in the last five years, and the 18% GST is killing. We manage around 1,500 shows annually, but barely break even, with wafer-thin margins,” said Dilip, 50.   The logistics alone are staggering. Rambo Circus travels across India with an 80-member troupe of acrobats, aerialists, sword balancers, jugglers, jokers, rigging crews, support staff, massive equipment, and a few mechanical animals.   “Many of my people have spent their entire lives under the tent. We live like a huge family. I try to support their children’s education, medical needs and help them build some financial stability. But without resources, it is becoming increasingly difficult,” said Dilip, his voice weary after decades of struggle for survival.   He reminisced of the golden era of Indian circus, around the second half of the last century, when there were many grand, full-scale circuses, but today barely half a dozen professional setups remain - Gemini, Golden, Ajanta, Asian, Great Bombay, and Rambo - along with a few smaller, local outfits.   “Unlike most countries where circuses come under the Cultural Ministry, India offers no institutional identity or support. I am invited as a jury member to several top annual international circus festivals. I feel sad as not a single Indian artist features on global stages. We just have no backing here,” Dilip told The Perfect Voice in a free-wheeling chat.   He said the decline accelerated after the ban on live animal performances nearly 20 years ago in India. In contrast, many foreign circuses still feature elephants, horses, bears, zebras, llamas, tigers, leopards, lions, and exotic birds - though most face heavy resistance from animal-rights groups.   “Moreover, ticket rates in India are among the lowest in the world, without tax concessions. In foreign circuses, even in smaller countries, tickets start at Rs 10,000 per head. We can’t dare match that…” he rued.   Yet, the thirst to lure audiences remains undiminished. Rambo Circus now leans on technology and innovation, featuring a mechanical elephant, a giraffe on stilts, stuffed zebras, deer, bears and horses, and has commissioned a Japanese company to design a robotic lion to perform tricks.   To make the shows more interactive, MoC – a tall senior joker – invites the young audience members into the ring to try small acts like skipping, jumping, or dancing with help from the midget clowns, and the kids’ shrieks of joy echo through the tent, as their parents furiously click videos and selfies.   Dilip recalled that during the pandemic lockdown, when survival seemed impossible, Rambo Circus pioneered online ticketed shows, selling nearly 50,000 virtual tickets - the highest among circuses worldwide at that time, and earned praise by international peers.   “We are swimming alone… For us, it’s not just entertainment. It is art, heritage, livelihood, identity, and passion - and we will fight for a dignified existence,” Dilip said quietly.   Rambo Circus’ emotional tug at PM’s heart Rambo Circus Director and owner Sujit Dilip appealed to Prime Minister Narendra Modi to help save this art form with a huge potential to generate jobs, discover talents, earn massive revenues and foreign exchange.   “We urge the PM and ICCR to give Indian circuses a formal status, affordable venues for our shows, extend bank loans, opportunities for skill-upgradation, foreign collaborations and inclusion under the Ministry of Corporate Affairs’ CSR list. Many corporates wish to help, but current rules prevent it,” Dilip told The Perfect Voice .   He recalled how, during Covid-19, Rambo Circus launched online shows and sold nearly 50,000 tickets, proving the potential of Indian circus talent and earning acclaim worldwide for his innovation. “Our dream is to make India’s circuses world-class, and we need government support to achieve this,” he said.   History of circuses – Roman Arenas to open maidans The name ‘circus’ had its origins in ancient Rome, where chariot races, gladiator clashes, displays/deadly fights between wild animals and condemned humans enraptured audiences in huge open arenas. Later, circuses began modestly in 1768 with horse tricks performed by Philip Astley, a London cavalryman. Then, came the modern version of live performances by horses/ponies in the US in 1793, and in the 1830s, wild animals were introduced.   Many Hollywood films featured circuses as the backdrop. The most memorable ones are: Charlie Chaplin’s “The Circus” (1928); Walt Disney’s “Dumbo’ (1941); Cecile B. DeMille’s 2 Oscar Award-winning “The Greatest Show on Earth” (1952); biopic on P.T. Barnum “The Greatest Showman” (2017), et al.   Bollywood’s own legendary ringside acts were in films like Raj Kapoor’s “Mera Naam Joker” (1970); “Chandralekha” (1948); “Appu Raja” (1989); “Circus Queen” (1959); “Shikari” (1991); “Dhoom 3” (2013); and the howlarious circus climax in Firoz A. Nadiadwala’s “Phir Hera Pheri” (2006), etc.

The Last Sovereign

At 90, the Dalai Lama is confronting the future of his reincarnation with resolve and without deference to Beijing.

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On July 2, in the Indian hill town of Dharamshala, where he has lived in exile since 1959, the 14th Dalai Lama made an announcement that echoed far beyond the confines of the Buddhist world. “The institution of the Dalai Lama will continue,” he said, adding that the GadenPhodrang Trust - the body headquartered in his own office - would be the “sole authority” to recognise his reincarnation. “No one else has any… authority to interfere in this matter,” he added, in a pointed rebuke to the Chinese Communist Party, which claims precisely that authority.


It was the latest salvo in a long struggle over who controls the soul of Tibet. At stake is the fate of a people whose cultural identity has been under relentless siege.


There was a time when such words might have sounded obvious. But for Tibetan Buddhism in the 21st century, reincarnation has become a battleground. In 2007, the Chinese Communist Party issued an edict asserting that all ‘living Buddhas’ must receive state approval before reincarnating. The idea that a Marxist-Leninist regime would reserve the right to control the rebirth of souls might seem absurd were it not so chillingly consistent.


The Dalai Lama’s statement, issued just days before his 90th birthday, was not new in substance. He had said much the same in 2011. But the timing and the context - his advancing age and Beijing’s renewed assertiveness in Tibetan affairs - give it fresh urgency.


The reincarnation of a Dalai Lama has always been a matter of deep ritual and Tibetan consensus. The process stretches back to the 15th century, when the first Dalai Lama was posthumously recognised as a reincarnation. Since then, the line has been both a spiritual and temporal authority. From the 17th century until 1951, when Tibet was annexed by China, successive Dalai Lamas ruled as de facto sovereigns from Lhasa.


Born in 1935 in the village of Taktser, in what is now Qinghai province, Lhamo Thondup was recognised at age two as the reincarnation of the 13th Dalai Lama. He was enthroned in Lhasa in 1940 and assumed full temporal power at the age of fifteen, just as Mao Zedong’s People’s Liberation Army was consolidating its grip over Tibet. In 1959, amid the chaos of a failed uprising, the young Dalai Lama slipped out of Lhasa disguised as a soldier and fled across the Himalayas into India. He has never returned, presiding instead over a government-in-exile from Dharamshala. Over the decades, he has transformed his role from that of a traditional theocrat to a modern statesman advocating non-violence, religious harmony and ‘secular ethics’ in a world riddled with conflict and consumerism.


It is precisely this moral authority that the Chinese Communist Party fears. For Beijing, the Dalai Lama is a symbol of Tibetan resistance. That is why China insists it alone can select the 15th Dalai Lama.


In 1995, after the Dalai Lama recognised a six-year-old boy as the reincarnation of the Panchen Lama (the second-highest figure in Tibetan Buddhism) Chinese authorities abducted the child and installed their own alternative. The original Panchen Lama, now in his thirties, has never been seen again.


The Dalai Lama’s vision for what comes after him rests with the GadenPhodrang Trust. Founded in 2011 and headed by Samdhong Rinpoche, a soft-spoken scholar-monk and former prime minister of the Tibetan government-in-exile, the Trust will oversee the search and recognition of his reincarnation, should the institution continue. Two other affiliated bodies - the Dalai Lama Trust in Delhi and the GadenPhodrang Foundation in Zurich - support his broader mission of education, humanitarian work and global spiritual dialogue.


That looming scenario of rival Dalai Lamas, one chosen by Tibetan lamas, the other by Beijing’s bureaucrats, threatens to split the Tibetan community and further dilute international attention. It is also, paradoxically, a sign of how potent the institution remains. No government engineers the succession of a figure it deems irrelevant.


The Dalai Lama remains an eternal paradox in motion. A monk who once ruled a country. A refugee who became a Nobel laureate. And now, a nonagenarian who is preparing his people for a future in which his voice may no longer be audible but his choices and his warnings may shape Tibetan destiny for generations.

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